jueves, 28 de febrero de 2019

JUAN DIEGO FLÓREZ ET OLGA PERETYATKO : LES AMANTS TRAGIQUES DE VIENNE


Par Katharina Rabillon  & Stéphanie Lafourcatère
C'est l'un des plus grands chefs-d'œuvre du bel canto : "Lucia di Lammermoor" de Donizetti. Laurent Pelly livre une nouvelle version de cet opéra au Staatsoper de Vienne. Le metteur en scène plonge les amants tragiques interprétés par la soprano russe Olga Peretyatko et le ténor péruvien Juan Diego Flórez dans un monde de rêve et de mystère.


Passion, désespoir et folie sont les maîtres-mots de "Lucia di Lammermoor" de Donizetti. Le Staatsoper de Vienne qui fête ses 150 ans cette année présente une nouvelle version de cet opéra dans une mise en scène de Laurent Pelly. Le ténor de légende Juan Diego Flórez et la soprano star Olga Peretyatko interprètent cette partition à la puissance délicate dans le rôle des amants tragiques.

Le metteur en scène français nous livre ses impressions sur cette œuvre : "Il y a toujours comme une pulsation cardiaque," estime-t-il avant d'ajouter : "Pour moi, c'est toujours animé d'une énergie et d'une tension."

"L'apogée du bel canto"
Juan Diego Flórez renchérit : "Tout s'articule autour du chant : évidemment, il y a l'expression, le jeu d'acteur, l'intensité dramatique de cette œuvre, mais le chant, c'est le plus important, l'apogée du bel canto."

Cet opéra composé en 1835 explore le désespoir de Lucia qui aime Edgardo, mais qui est forcée d'accepter un mariage arrangé. Ce qui l'entraîne dans la folie et la mort.

"C'est que je voulais surtout dans 'Lucia'," indique Laurent Pelly, "c'est éviter le réalisme : cette œuvre, c'est pour moi comme une sorte de film d'épouvante. C'est l'histoire d'une jeune fille psychologiquement fragile qui est manipulée par tous les hommes qui l'entourent," affirme-t-il.
Divin et sensuel
Instrument rare, le glassharmonica accompagne la scène emblématique où Lucia perd peu à peu la raison. "C'est extraordinaire, en particulier avec ce glassharmonica," fait remarquer la soprano russe Olga Peretyatko. "Sa sonorité a une dimension divine, on dirait qu'elle vient d'un autre monde," fait-elle remarquer.

Laurent Pelly poursuit en évoquant cette scène si intense : "La folie, c'est aussi une projection : donc, elle voit Edgardo à côté d'elle tout le temps," dit-il. "Et puis, il y a un grand moment pour moi qui doit être un moment presque sensuel : devant cette foule de gens, devant leurs yeux, elle mime presque l'acte d'amour," déclare-t-il.

"Dans la scène de la folie, on peut montrer des facettes très différentes et passer d'une couleur à l'autre," s'enthousiasme Olga Peretyatko.

Juan Diego Flórez évoque pour conclure "ce final grandiose qui est ô combien difficile et magnifique" selon ses propres termes. "Si on se montre créatif quand on l'interprète, on peut le rendre encore plus beau," assure-t-il en entonnant un passage. "En tant que chanteur, je peux vraiment explorer différentes nuances," se réjouit le ténor.

https://fr.euronews.com/2019/02/21/juan-diego-florez-et-olga-peretyatko-les-amants-tragiques-de-vienne?utm_source=newsletter&utm_medium=fr&utm_content=&_ope=eyJndWlkIjoiNThkMWI4YjE0MWNmNDE0NDNhZGE5M2E5NjE4ZTFlODEifQ%3D%3D

miércoles, 27 de febrero de 2019

DANIEL BARENBOIM SEEMED UNTOUCHABLE. NOW HE’S ACCUSED OF BULLYING.


Daniel Barenboim conducting the Staatskapelle Berlin in October. Mr. Barenboim has been accused of bullying by several current and former members of the orchestra.CreditCreditPool photo by Christian Marquardt

By Alex Marshall and Christopher F. Schuetze

Daniel Barenboim, one of the world’s most celebrated conductors, is known for doing what he wants.

He founded an orchestra (the West-Eastern Divan, a youth ensemble of musicians from around the Middle East), a conservatory (the Barenboim–Said Akademie) and a concert hall (the Pierre Boulez Saal). In 2001, he broke a longstanding informal ban in Israel and conducted a piece by Richard Wagner, an anti-Semite beloved of the Nazis. He makes the kind of political statements most musicians avoid.

Mr. Barenboim, 76, has long been considered untouchable in Berlin, where he is music director of the Staatsoper — the city’s premier opera house — and principal conductor for life of its orchestra, the Staatskapelle. He is close to city politicians and has used his influence to ensure the opera company receives a healthy annual subsidy of 50.4 million euros ($57.4 million) from Berlin’s government.

But cracks have begun to emerge in the conductor’s image as Mr. Barenboim has been accused of bullying and humiliating members of the Staatskapelle. The accusations have been reported widely in German media, and there have been calls for politicians to intervene. A spokesman for Klaus Lederer, Berlin’s highest-ranking official for culture, whose department provides most of the Staatsoper’s funding, said Mr. Lederer has asked the opera company to appoint a third party to look into the matter.

“A piece of art might not always be democratic, but a public institution can’t be allowed to transform into a royal court,” said a recent article in the newspaper Der Tagesspiegel.
The New York Times has communicated with seven former or current members of the Staatskapelle. All highlighted examples of Mr. Barenboim’s behavior that they said was bullying and went beyond what was normal for a conductor.

Mr. Barenboim dismissed the accusations. “I was born in Argentina, so there’s a bit of Latin blood in my body, and I get upset now and then,” he told RBB, a German broadcaster.
In an email exchange with The Times, he denied bullying anyone. “Bullying and humiliating someone,” he wrote, “implies the intention of wanting to cause someone hurt, of taking pleasure in it, even. This is not in my character.”

Highhanded behavior was common in conductors of the last century, with maestros like Arturo Toscanini and George Solti known as harsh taskmasters. (One of Mr. Solti’s nicknames was “The Screaming Skull,” because of his bald head and temper.) But the debate around Mr. Barenboim raises the issue of whether such behavior is still possible.

“The issue is not personal, but a question of how orchestras are run in the 21st century,” Martin Reinhardt, a trombonist in the Copenhagen Philharmonic who played in the Staatskapelle and has openly criticized Mr. Barenboim’s behavior, said in a statement.


Willi Hilgers, a former timpanist with the Staatskapelle, said in a series of Facebook messages that Mr. Barenboim repeatedly humiliated him in front of colleagues by singling out his playing. As a result, he said, he had suffered “high blood pressure, depression, the feeling that you can no longer play your instrument, sleepless nights, my family had to suffer as well, no performance without beta blockers and antidepressants.”



Mr. Barenboim at the Staatsoper in Berlin in 2017. He says that the accusations are part of a campaign to stop him from continuing as music director of the opera company.CreditOdd Andersen/Agence France-Presse — Getty Images

Mr. Barenboim said that the accusations were part of a campaign to stop him from continuing as music director of the Staatsoper. “The fact these allegations have surfaced now, just as I am in negotiations about renewing my contract beyond 2022,” he wrote in the email exchange, “makes me wonder: If people were indeed hurt, as they claim to have been, why speak about it now, at this precise moment?”

“I know that in certain tense moments I have used a harsh tone that I regretted,” he added, but that was all. “I am not a shy lamb — but I am not a bully, either.”

In a statement, the Staatskapelle’s orchestral board said it had achieved “great artistic successes through mutual trust and close cooperation” with Mr. Barenboim. “This confidence remains untouched,” the statement added.

The accusations against Mr. Barenboim first appeared on Feb. 6 in VAN, an online classical music magazine, which interviewed over a dozen current and former employees of the Staatsoper, quoting them anonymously. The article described a leader “who can be inspiring and generous, but also authoritarian, mercurial and frightening.”

Mr. Hilgers, 56, said in a Facebook message that his problems with Mr. Barenboim started during the Staatsoper’s 2001-02 season, at a performance of Wagner’s “Götterdämmerung.” During the first intermission, Mr. Hilgers said, he told Mr. Barenboim he had a migraine, warning the conductor in case he lost concentration during the rest of the opera. During the next act, Mr. Barenboim would bang out the rhythm of the timpani’s solos with one hand and a foot, as if instructing a child, Mr. Hilgers said, adding that he felt humiliated.

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 “Afterward, his attacks piled up against me,” Mr. Hilgers said.

Mr. Barenboim said in an email, “The timpanist you mention had a beautiful sound and made beautiful colors,” but he had “rhythmic weaknesses, which is very problematic.” Mr. Barenboim added that the pair had “some disagreements,” but that is normal when musicians are trying to get the best results.

Leo Siberski, 49, is now the music director of the Plauen-Zwickau Theater in Germany, and played trumpet in the Staatskapelle under Mr. Barenboim from 1992 to 2003. He said he witnessed outbursts from Mr. Barenboim directed at musicians, and started experiencing them himself after asking for a sabbatical in 1996.

Mr. Barenboim refused the request, Mr. Siberski said. “He soon found a situation where he could humiliate me, also to make an example of me,” Mr. Siberski said. This behavior largely involved singling Mr. Siberski out, and making him repeat passages in front of the orchestra.

Mr. Barenboim said he didn’t remember any request for a sabbatical. He added it was “fair practice to ask musicians in a world-class orchestra to play their lines alone.”

Mr. Siberski said he eventually quit as the orchestra’s principal trumpet to “get out of the firing line.” Now a conductor himself, he said he has adopted a different approach with the musicians he works with.

“If a responsible artistic director wants to lead his ensemble to new levels of quality, this will always cause some pain,” he said. “But there is a huge abyss between pain like sore muscles, and deep mental wounds caused from attacking your very dignity.”

Mr. Barenboim acknowledged that the world is changing. “That is generally a good thing,” he said. But, he added, “an orchestra cannot function if every tempo, every dynamic is put up for a democratic vote. Somebody has to lead, take decisions and be ultimately responsible.”

https://www.nytimes.com/2019/02/26/arts/music/daniel-barenboim-conductor-bullying-berlin.html?rref=collection%2Ftimestopic%2FClassical%20Music&action=click&contentCollection=timestopics&region=stream&module=stream_unit&version=latest&contentPlacement=1&pgtype=collection

FABLES D’ORIENT – MINIATURISTES, ARTISTES ET AVENTURIERS À LA COUR DE LAHORE


Un ensemble d’illustrations qui révèle un aspect surprenant de la production picturale indienne due à un peintre de Lahore, Imam Bakhsh, au XIXe siècle. Parmi elles, 60 miniatures des Fables de la Fontaine, grâce au prêt exceptionnel du musée de Château-Thierry, constituent un premier florilège. Des peintures de l’école du Punjâb s’ajoutent aux fables : portraits de maharajahs, dignitaires royaux, paysages, destinées à illustrer les Mémoires du général Claude-Auguste Court dont le manuscrit est conservé au MNAAG. Des photographies anciennes de la ville de Lahore et des sites alentours complètent la présentation.



Les illustrations des Fables sont le fruit d’un ambitieux projet mené par le Baron Félix Feuillet de Conches (1798-1887), chef du protocole au ministère des affaires étrangères en France. Cet admirateur passionné de Jean de La Fontaine avait entrepris de faire illustrer les Fables par des artistes du monde entier et avait passé commande, auprès de Jean-François Allard et Jean-Baptiste Ventura, pour faire réaliser, par un artiste du Pendjab, des illustrations de qualité destinées à orner les espaces laissés vierges des pages de l’édition Didot de 1827 des Fables de La Fontaine. Revisitée par Imam Bakhsh, cette série réalisée de 1837 à 1839 dans la région de Peshawar, offre une vision totalement singulière voire insolite des Fables. Doué d’une sensibilité vive pour le paysage, le peintre y cultive un attrait pour l’actualité et les atmosphères poétiques.

Enrichie de prêts du Louvre et de la Bibliothèque nationale de France, cette exposition offre une occasion unique de découvrir ces deux séries d’une richesse picturale exceptionnelle.


http://www.guimet.fr/event/fables-dorient-miniaturistes-artistes-et-aventuriers-a-la-cour-de-lahore/

HERENCIAS


'Una Odisea', de Daniel Mendelsohn, interesará tanto a los que ya sepan qué significa la palabra griega 'nostos' como a los que piensen que Homero es uno de los Simpson
JAVIER RODRÍGUEZ MARCOS


Réplica del caballo de Troya en el sitio arqueológio de la ciudad, en la actual Turquía. ELENA ODAREEVA

Uno de los pasajes más tristes de la historia de la literatura tiene lugar en el canto XI de la Odisea, cuando Ulises viaja al inframundo y se encuentra por sorpresa con Anticlea, su madre. No sabía que había muerto. Llevaba dos décadas sin noticias de su familia: diez años en la guerra de Troya y otros tantos tratando de volver a Ítaca. El comentario de ese episodio es, a su vez, uno de los grandes momentos de Una odisea: un padre, un hijo, una epopeya, el libro de Daniel Mendelsohn que Seix Barral acaba de publicar en traducción de Ramón Buenaventura. Filólogo clásico y crítico literario, Mendelsohn relata en 400 páginas fulgurantes la peripecia de leer a Homero en un seminario al que acude una docena de estudiantes de griego y un oyente particular: su propio padre, un matemático jubilado poco amigo de las efusiones sentimentales y al que Ulises no le cae especialmente bien.


A la tirante historia familiar y al fascinante comentario de texto se les suma el crucero por el Mediterráneo que padre e hijo emprenden al terminar el curso. Una odisea es, claro, una odisea casera –proemio y anagnórisis incluidos- al tiempo que un canto a las humanidades en tiempos de pragmatismo rampante y al análisis riguroso en tiempos de subjetivismo ramplón. Cuando los alumnos le plantean una interpretación heterodoxa -¿y si Ulises se inventa su aventura con Circe?- el profesor recurre a una de sus maestras, Jenny Strauss Clay, que resuelve la duda con la herramienta más vieja de la filología: la lectura atenta.

Además de una introducción al poema homérico que interesará tanto a los que ya sepan qué significa nostos (regreso a casa) como a los que piensen que Homero es uno de los Simpson, el libro de Mendelsohn está lleno de historias que darían para un tomo entero. Así, de su mentora apenas apunta que ha tenido “una vida de viajes”, pero podría haber contado más. Jenny Strauss Clay nació en Egipto en 1942, adonde habían viajado sus padres huyendo de los nazis. Su madre murió en el parto, su padre se suicidó y ella fue adoptada por su tío, Leo Strauss, uno de los grandes de la filosofía política, exiliado en EEUU. Cuando en los años posteriores al 11-S su obra se convirtió en coartada para los neocon, su hija publicó un artículo en el New York Times tratando de desligar a su padre –que llevaba 30 años muerto- de la Administración Bush a la vez que reivindicaba su pasión por los clásicos, es decir, su herencia.

https://elpais.com/cultura/2019/02/26/actualidad/1551208061_025714.html

LA BIBBIA RIVEDUTA E SCORRETTA – TEATRO COCCIA NOVARA


24 febbraio 2019
Arrivati ad una certa età si crede di averle ormai sentite tutte e capito (quasi) tutto, poi arrivano gli Oblivion, cantanti, attori, ballerini, fantasisti ed un po’ saltimbanchi che allegramente  ti raccontano la Bibbia da un punto di vista diverso da quello che ci hanno insegnato! Ed allora l’unica alternativa qual’è? DIVERTIRSI ! 

Uno spettacolo scritto da
Davide Calabrese, Lorenzo Scuda, Fabio Vagnarelli
Musiche di Lorenzo Scuda
Interpretato da
Gli OBLIVION
(Graziana Borciani, Davide Calabrese, Francesca Folloni,
Lorenzo Scuda, Fabio Vagnarelli)
Regia Giorgio Gallione
Produzione AGIDI S.r.l.

Foto ©Paolo Galletta



“Anno domine 1455..”  ed immersi in un rosso acceso ha inizio il racconto della Bibbia riveduta e scorretta! Tra roghi pronti a bruciare streghe e false credenze popolari, Johann Gutenberg introduce la stampa a caratteri mobili, crea l’editoria e inaugura di fatto l’Età Moderna. Fin qui tutto chiaro anche per Gutenberg che ha la netta percezione dell’enormità della scoperta, ma una domanda sorge spontanea: quale deve essere il primo libro da stampare e consegnare all’umanità?
Ovviamente individuare la risposta crea uno stato confusionale nella sua mente e vive l’ansia da prestazione editoriale, ma … a quel punto bussa alla porta della prima stamperia al mondo nientemeno che  il Signore Iddio con, su una carriola argentea e luccicante, le lastre di pietra manu scolpite. Dio chiede a Gutenberg di stampare la Bibbia, trasformarla in un best seller e fare di lui il più grande scrittore di tutti i tempi.  Succederà di tutto  e tra una discussione e l’altra tra Dio e Gutenberg (con un libro sempre sul capo) prende il via la lotta eterna tra il Potere Divino ed il Quarto Potere, perché come anche riportato: “ puoi essere anche Dio sceso in terra, ma se non hai un buon ufficio stampa non sei nessuno”
Esilaranti i racconti del vecchio Abramo senza figli, della “vera” lotta tra Caino ed Abele circa la cucina abituale con carni ecc e la cucina vegetale, fino alla farsesca descrizione della circoncisione rappresentata da svolazzanti foulards.

La Bibbia deve restare  nella storia ed allora bisogna anche stupire con effetti speciali ed ecco allora il diluvio universale con Noè circondato da pupazzetti di animali e con ARKEN tutta da montare con quattro pezzi di legno, un foglietto di istruzioni ed una brugola, parodiando con fin troppa evidenza la celebre Ikea. Non manca neppure un grande salmo che diventa un salmone… Comicissima la rappresentazione del battesimo ‘io battezzo te e tu battezzi me’ con San Giovanni Batista con già un piatto attorno al collo, pronto per la decollazione. Il conflitto generazionale non manca tra Padre e Figlio e poi arriva pure lo Spirito Santo a  creare confusione di ruoli ed ad ingarbugliare tutto pure Babbo Natale che diventa il distributore ufficiale del prodotto Bibbia, con l’unica necessità di consegnare tutto in una notte.



Giorgio Gallione ha realizzato una regia dinamica e scattante, ricca di elementi senza intasare e confondere la scena, ma simboleggiando le varie sezioni le ha rese di immediata fruizione. Circa le luci sono stato colpito dalla efficacia nella totale semplicità. I costumi vivaci e brillanti nei più svariati colori, non fanno che contribuire alla riuscita della produzione.

Graziana Borciani, Davide Calabrese, Francesca Folloni, Lorenzo Scuda e Fabio Vagnarelli ovvero gli Oblivion, si incontrano nel 2003 a Bologna e da quel momento diventano una realtà su internet, in teatro, in televisione e su palchi prestigiosi. Sono davvero bravi! In cinque tengono uno spettacolo con ironia, gestualità, agilità, espressione, canto e dizione tutto insieme; utilizzano la formula del musical per trattare con satira non malevola temi importanti, argomenti e testi che tutti hanno avvicinato. In questo caso la blasfemia era in agguato, ma con intelligenza l’anno respinta lasciando spazio al puro umorismo che diverte sempre e di cui abbiamo sempre più bisogno ! Evviva gli Oblivion!

Renzo Bellardone

THEATERS OF FICTION ON VIEW AT THE WELLIN MUSEUM OF ART


Theaters of Fiction features work by seven contemporary artists that use the physical space of the theater to explore ideas of illusion and escapism.
Candida Höfer. Teatro Comunale di Bologna I, (2006). Chromogenic print, 70 ⅞ x 85 in. Collection of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Purchase, William G. Roehrick ’34 Art Acquisition and Preservation Fund. © Candida Höfer, Köln / VG Bild-Kunst, Bonn. Image courtesy of Sean Kelly Gallery, New York
Theaters of Fiction presents work created over the last two decades by seven international artists who look to the physical space of the theater to explore themes of illusion, escapism, and artificiality. Exhibiting artists include Rhona Bitner, Ceal Floyer, Candida Höfer, Lisa Kereszi, Guillermo Kuitca, Hiroshi Sugimoto, and Carrie Mae Weems.



Rather than referencing, recreating, or replicating theatrical or operatic performance in a literal manner, the artworks included turn our gaze to the architectural space and its physical trappings. Foregrounding the absences present in spaces where fictions are staged, these artists reveal the constructs and hierarchies of culture and the context in which fiction is created and consumed. Some of the artists selected as their subjects aristocratic opera houses and theaters, while others look to more democratic spaces of popular entertainment, like cinemas. Above all, however, the artists included in Theaters of Fiction use the theater as a metaphor: both for the process of image making itself, but also for the cultural, social, and political constructs that define entertainment and the context in which fiction is created and consumed.

This show is curated by Katherine D. Alcauskas, Collections Curator and Exhibitions Manager, Wellin Museum of Art.
Theaters of Fiction will be on view at the Wellin Museum of Art (198 College Hill Road, Clinton, NY) through June 9, 2019.

https://hyperallergic.com/486202/theaters-of-fiction-wellin-museum-art-hamilton-college/?utm_medium=email&utm_campaign=Daily%20022719%20-%20Harvards%20Complicit&utm_content=Daily%20022719%20-%20Harvards%20Complicit+CID_82708dcaa9e898194a6c27f8eab35397&utm_source=HyperallergicNewsletter

HARVARD’S COMPLICIT HISTORY WITH SLAVERY



Slavery in the Hands of Harvard is a small but remarkably effective look at the historical ties and intersections between the school and the varied institutions of slavery.

Robert Moeller


Jonathan M. Square, “Freedom Papers?” (2019) (all images courtesy of Jonathan M. Square, photos by Myk Ostrowski)

CAMBRIDGE, Mass — In the summer of 2009, Harvard professor Henry Louis Gates Jr. was returning from a trip to China and had difficulty entering his home in Cambridge. Apparently the front door was jammed. Both he and his driver tried to open it before going around to a side entrance. A neighbor noticed the two men struggling with the door and called the police. What followed engulfed the nation in a heated conversation about race and, more specifically, racial profiling by police. The conversation entered its absurdist phase when President Obama invited both Gates and James Crowley, the officer who arrested him, to the now infamous “Beer Summit” at the White House. Obama’s even-handed management of the circumstances around the arrest pleased no one at the time.
It all seems rather innocent now: an African American’s encounter with the police ending peacefully — albeit after an arrest — and afterwards all aggrieved parties sharing conciliatory smiles and handshakes at the White House with the President. It is a sharp contrast to the now painfully familiar results of numerous instances in which deadly police force ends the conversation all too abruptly.
Gates’s arrest had very little to do with Harvard other than the fact that he taught there and lived in university housing. It also had everything to do with Harvard: if Gates, a high-profile academic, could be arrested for “breaking into” his own home just blocks away from Harvard’s main campus then what were encounters with police like for the average African American? Even in an ostensibly progressive city like Cambridge the deck still seemed stacked against fairness, and indeed, common sense when it came to the relationship between police and African Americans.
Slavery in the Hands of Harvard, curated by Dr. Jonathan M. Square, is a small but remarkably effective look at both Gates’s arrest and, more specifically, the historical ties and intersections between the school and the varied institutions of slavery. Square, a Harvard professor and first-time curator, deftly navigates the history of racism that exists across the school and investigates how that history still resonates today. Through original works by several contemporary artists and reproductions of materials from Harvard’s vast archives, Square establishes a series of historical markers that vibrate with personal experiences……………

https://hyperallergic.com/485405/harvards-complicit-history-with-slavery/?utm_medium=email&utm_campaign=Daily%20022719%20-%20Harvards%20Complicit&utm_content=Daily%20022719%20-%20Harvards%20Complicit+CID_82708dcaa9e898194a6c27f8eab35397&utm_source=HyperallergicNewsletter

martes, 26 de febrero de 2019

VAN GOGH, LA NUIT ÉTOILÉE. ATELIER DES LUMIÈRES PARIS


Une création Gianfranco Iannuzzi - Renato Gatto - Massimiliano Siccardi - avec la collaboration musicale de Luca Longobardi
Du 22 février au 31 décembre 2019


Une déambulation dans les plus grands chefs-d’oeuvre de Van Gogh
La nouvelle exposition numérique de l’Atelier des Lumières propose une immersion dans les toiles de Vincent van Gogh (1853-1890), génie ignoré de son vivant, qui a bouleversé la peinture. Épousant la totalité de l’espace de l’Atelier, cette nouvelle création visuelle et sonore retrace la vie intense de l’artiste tourmenté qui peignit pendant les 10 dernières années de sa vie plus de 2000 tableaux, aujourd’hui dispersés à travers le monde.

L’exposition parcourt l’immense production de Van Gogh, qui évolue radicalement au fil des ans, des Mangeurs de pommes de terre (1885), aux Tournesols (1888) en passant par La Nuit étoilée (1889) et à La Chambre à coucher (1889). L’Atelier des Lumières révèle les coups de brosse expressifs et puissants du peintre hollandais et s’illumine aux couleurs audacieuses de ses toiles au style sans égal. Les nuances sombres succèdent aux teintes chaudes. L’exposition immersive évoque le monde intérieur à la fois démesuré, chaotique et poétique de Van Gogh et souligne un dialogue permanent entre l’ombre et la lumière.


Le parcours thématique retrace les différentes étapes de la vie de l’artiste, ses séjours à Arles, Paris ou encore Saint-Rémy-de-Provence. Le visiteur voyage au coeur des oeuvres, de ses débuts et de sa maturité, de ses paysages ensoleillés et de ses nocturnes, à ses portraits et natures mortes.

En complément, un nouveau dispositif est proposé au sein de la citerne située au centre de l’Atelier : les célèbres toiles de Van Gogh sont représentées dans leur intégralité en présence de commentaires sur l’oeuvre et le musée où elle est présentée.

Cette création visuelle et musicale produite par Culturespaces et réalisée par Gianfranco Iannuzzi, Renato Gatto et Massimiliano Siccardi, met en lumière cette richesse chromatique ainsi que la puissance du dessin et la force des empâtements de l’artiste.

https://www.atelier-lumieres.com/fr/van-gogh-nuit-etoilee

LE ALLEGRE COMARI DI WINDSOR – TEATRO CARCANO, MILANO

22 febbraio 2019
Le Opera di William Shakespeare sono realmente senza tempo e senza età: basta cambiare l’ambientazione ed attualizzare il testo e ci si ritrova immersi in un mondo contemporaneo ed anche le buffe sortite ben si attagliano ai giorni che viviamo.



di William Shakespeare
Adattamento Edoardo Erba
Con Mila Boeri, Annagaia Marchioro, Chiara Stoppa, Virginia Zini
Fisarmonica Giulia Bertasi
Scene Federica Pellati
Costumi Katarina Vukcevic
Consulente musicale Federica Falasconi
Regia Serena Sinigaglia
Coproduzione Fondazione Teatro di Napoli – Teatro Bellini | ATIR Teatro Ringhiera

Edoardo Erba  riscrive il testo Shakaespiriano con l’ ironia tipica degli iper osservatori: il mondo ed i suoi abitanti vengono radiografati, anzi passati alla risonanza magnetica con lucidità e gran senso dello humor. La regista Serena Sinigaglia cavalca il testo riadattato e con altrettanta ironia, talvolta sarcastica, presenta un lavoro fatto di movimento, di atteggiamenti, di parole e grande gestualità. Sul palco insieme alle quattro donne che interpretano tutti i personaggi, anche quelli maschili, compare  il suono di una fisarmonica che sotto le abili dita di Giulia Bertasi , anche nel ruolo di Fenton, suona dal vivo alcuni brani dal Falstaff di Verdi cantati dalle super interpreti. La consulenza musicale è di Federica Falasconi.  In scena solamente la signora Page, Alice  Ford, la giovane Anne Page e la riverente ed irriverente  Quickly, che danno vita anche ai personaggi maschili che, pur  assenti, brillano di presenza  attraverso la parole delle comari.
Pur nella riscrittura, i personaggi e tutti gli elementi della storia ci sono; ecco infatti il mastello, il cesto, le corna, e le riverenze ed il celebre ‘dalle due alle tre’!  Non mancano le lettere uguali inviate dal ‘vecchio porco’ di Falstaff  ai suoi  due oggetti del desiderio, Page e  signora Ford. Un momento ‘molto inglese’ è un ritmato e sincronizzato sorseggiamento del tè in una sarabanda di immaginarie situazioni d’amore.

La scena di Federica Pellati è semplicemente efficace: sullo sfondo tre pannelli che formano una sorta di grande ventaglio di pizzo che inevitabilmente rimanda a ‘Arsenico e vecchi merletti’  capolavoro di Mortimer Brewster ripreso poi nel film del 1944 da Frank Capra. Nelle allegri comari però non ci sono perversioni delittuose, ma divertimento ed ironia  esaltati anche dai costumi di Katarina Vukcevic che a Quickly affibbia un comico  fondo schiena enorme con evidenti slippini striminziti, poi parrucche e divertenti cambi d’abito in scena.
Delle attrici si potrebbe parlare molto, ma per una sorta di par condicio, le ho ritenute tutte perfettamente in ruolo, agili, brillanti e caratteriste d’eccezione, quindi un plauso sincero a Mila Boeri, Annagaia Marchioro, Chiara  Stoppa e Virginia Zini: rilevanti le intonazioni, le camminate e le andature, l’espressività vocale e gestuale.
Da qualche tempo frequento il Teatro Carcano ed una nota di merito per le proposte, va certamente fatta; recentemente ho assistito a ‘Il Misantropo’ con Valter Malosti, il toccante spettacolo ‘Queen Lear’ con le Nina’s Drag Queens con l’ideazione del bravo Francesco Micheli che con grande abilità ha trattato con disarmante  ilarità un tema profondo ed attuale: la solitudine e l’abbandono degli anziani. In ognuno di questi casi sono uscito molto soddisfatto per il gusto realizzativo e le abilità interpretative, che si sono riconfermate in questa attualizzazione di Le allegre comari di Windsor.
Renzo Bellardone